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ISSUE 6: FOREIGN AGENTS Migrant subjects create migrant imaginaries. The very notion of culture is inseparable from these processes of diffusion, friction, transformation and creolization. When the journeys and experiences of people on the move are documented and represented, migration itself becomes the subject of culture. Rituals and institutions, knowledge and identities, phonemes, pigments and pixels, notions of taste, class, gender or ethnicity migrate across time and space at any given epoch. Pause slideshow Play slideshow - Slide 1 - Slide 2 - Slide 3 - Slide 4 In the sixth and final issue of MIGRANT JOURNAL, you will follow the journeys of Diamond Painting across China, the real-life utopia of Esperanto, the bedazzled domes of Jerusalem and the digital landscapes of Poland, an exploration of Freud's 'uncanny' and Borges's labyrinths, but also _buddae jjigae_ and fusion-style Polish carp among many other stories. Pause slideshow Play slideshow - Slide 1 - Slide 2 - Slide 3 - Slide 4 TABLE OF CONTENTS Jesse Connuck → SPAM AMERICANA Paul Wilson → ESPERANTUJO, LAND OF THE HOPEFUL Reinhard Schmidt and Gabriel Amza → PALMS ON BALCONIES Jonathan Liebembuk → UNCANNY LABYRINTHS Dima Srouji → BEDAZZLED JERUSALEM: CITY SIMULACRA AND UNORIGINAL TRUTHS Pol Esteve and Dennis Pohl → POST-IMAGE EU: FROM TV SETS TO DATA FLOWS Benjamin Orlow → ASAFO FLAGS Martina Muzi → 5D DIAMOND FAMILY PORTRAIT Nice Katlehong → MASKANDI, THE TRAVELLING MAN’S MUSIC Mirjam Kooiman → RUN, FOREST, RUN! Dámaso Randulfe → DISLOCATIONS Marta Michalowska → CYPRINUS CARPIO FROM TESCO Andrew Scheinman → THE LAND WHERE LAURELS GROW Kaspar Hauser → THE COMFORTING SHADOW OF KNOWLEDGE Subscribe to our newsletter",{"id":504,"height":13,"width":12,"blurhash":505},"c3287984-acdc-4ac5-924b-4a31f358d69b","radial-gradient(at 0 0,#a6a2ab,#00000000 50%),radial-gradient(at 33% 0,#aeaeb2,#00000000 50%),radial-gradient(at 67% 0,#b6b8b9,#00000000 50%),radial-gradient(at 100% 0,#adadaf,#00000000 50%),radial-gradient(at 0 50%,#000000,#00000000 50%),radial-gradient(at 33% 50%,#61685a,#00000000 50%),radial-gradient(at 67% 50%,#879384,#00000000 50%),radial-gradient(at 100% 50%,#404b3b,#00000000 50%),radial-gradient(at 0 100%,#3e2838,#00000000 50%),radial-gradient(at 33% 100%,#70766c,#00000000 50%),radial-gradient(at 67% 100%,#8f9e8c,#00000000 50%),radial-gradient(at 100% 100%,#70766c,#00000000 50%)",{"id":507,"height":15,"width":14,"blurhash":371},"7ef791ef-6965-4949-919b-e1fde7dcdf67",[509,512,515,518,521,524,527,530,533,536,539,542,545,548,551,554,557,560,563,566,569,572,575,578],{"directus_files_id":510},{"id":511},"7fb0a379-49c9-40db-8857-2da33707817b",{"directus_files_id":513},{"id":514},"978088eb-7be0-406d-87b9-f31e50e0ab36",{"directus_files_id":516},{"id":517},"43f2cba8-6589-4415-bfe0-50cc4dc8293d",{"directus_files_id":519},{"id":520},"c0e7c452-84c1-4cca-ad1d-858e46ba24fd",{"directus_files_id":522},{"id":523},"fe1a6bc1-9afe-4eec-8dfb-19ee42be31d6",{"directus_files_id":525},{"id":526},"42355f32-d0a6-46cb-b6db-325e347e426e",{"directus_files_id":528},{"id":529},"185d6bb0-b45f-414b-90e8-80aeb93edaec",{"directus_files_id":531},{"id":532},"64b3eb87-951a-4f9e-9ab6-173b1a705ed7",{"directus_files_id":534},{"id":535},"844d9b51-2e72-4686-b07f-1257b684ea3f",{"directus_files_id":537},{"id":538},"e79881a8-3f06-4820-892d-6f9d9597b3d6",{"directus_files_id":540},{"id":541},"8f26ce7e-f075-4cb1-a92b-f1664467c740",{"directus_files_id":543},{"id":544},"059f238c-e481-45e0-90d1-d92ce225944a",{"directus_files_id":546},{"id":547},"ff97f281-e58c-4a7f-bb86-c43509e8bb4e",{"directus_files_id":549},{"id":550},"f3b4d33c-b066-4c9d-934b-d1ff92491d85",{"directus_files_id":552},{"id":553},"52c8d2ee-8d64-4891-8099-2c8787b60441",{"directus_files_id":555},{"id":556},"89fbaacd-a369-4535-9a93-9ecddf6c0797",{"directus_files_id":558},{"id":559},"2bb805b1-fc0b-4b65-a76b-4aa71b0f617e",{"directus_files_id":561},{"id":562},"1e3dbc9a-2625-4fdb-9244-b714aedbac5c",{"directus_files_id":564},{"id":565},"d3498c14-dccc-4a8f-b36b-52809b9df003",{"directus_files_id":567},{"id":568},"cc361331-b0ad-4870-8df3-106a4d1b6ee5",{"directus_files_id":570},{"id":571},"2d281cf4-02d0-479c-840d-607cd880b988",{"directus_files_id":573},{"id":574},"225c3b60-073e-4023-888f-7b53cdabc6f4",{"directus_files_id":576},{"id":577},"49d50aea-815c-423e-8689-d67e06031bd6",{"directus_files_id":579},{"id":580},"4aef38dd-7b80-46fd-bf8a-22c546546044",[582],{"languages_code":465,"description":583},"Migrant Journal is a sophisticated, multi-issue publication that serves as a vessel for exploring the complex global circulation of people, goods, and information. 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Page type: Home \u002F Landing Page. Page title: MIGRANT JOURNAL. Page description: Migrant Journal is a six-issue publication exploring the circulation of people, goods, information, and even fauna and flora, around the world.. Page content: Migrant Journal is a six-issue publication exploring the circulation of people, goods, information, fauna and flora around the world and the transformative impact they have on space. ISSUE 6: FOREIGN AGENTS Migrant subjects create migrant imaginaries. The very notion of culture is inseparable from these processes of diffusion, friction, transformation and creolization. When the journeys and experiences of people on the move are documented and represented, migration itself becomes the subject of culture. Rituals and institutions, knowledge and identities, phonemes, pigments and pixels, notions of taste, class, gender or ethnicity migrate across time and space at any given epoch. Pause slideshow Play slideshow - Slide 1 - Slide 2 - Slide 3 - Slide 4 In the sixth and final issue of MIGRANT JOURNAL, you will follow the journeys of Diamond Painting across China, the real-life utopia of Esperanto, the bedazzled domes of Jerusalem and the digital landscapes of Poland, an exploration of Freud's 'uncanny' and Borges's labyrinths, but also _buddae jjigae_ and fusion-style Polish carp among many other stories. Pause slideshow Play slideshow - Slide 1 - Slide 2 - Slide 3 - Slide 4 TABLE OF CONTENTS Jesse Connuck → SPAM AMERICANA Paul Wilson → ESPERANTUJO, LAND OF THE HOPEFUL Reinhard Schmidt and Gabriel Amza → PALMS ON BALCONIES Jonathan Liebembuk → UNCANNY LABYRINTHS Dima Srouji → BEDAZZLED JERUSALEM: CITY SIMULACRA AND UNORIGINAL TRUTHS Pol Esteve and Dennis Pohl → POST-IMAGE EU: FROM TV SETS TO DATA FLOWS Benjamin Orlow → ASAFO FLAGS Martina Muzi → 5D DIAMOND FAMILY PORTRAIT Nice Katlehong → MASKANDI, THE TRAVELLING MAN’S MUSIC Mirjam Kooiman → RUN, FOREST, RUN! Dámaso Randulfe → DISLOCATIONS Marta Michalowska → CYPRINUS CARPIO FROM TESCO Andrew Scheinman → THE LAND WHERE LAURELS GROW Kaspar Hauser → THE COMFORTING SHADOW OF KNOWLEDGE Subscribe to our newsletter. A Clean \u002F Minimalist, Dark Mode, Typographic \u002F Big Type website in the Art & Culture industry. The overall color palette features White, Black, Gray. Built using MailChimp, Shopify. AI description: Migrant Journal is a sophisticated, multi-issue publication that serves as a vessel for exploring the complex global circulation of people, goods, and information. Its digital presence mirrors the intellectual depth of its content, utilizing a high-contrast, avant-garde aesthetic to engage a discerning audience of academics, artists, and cultural theorists. The visual identity is defined by a bold, experimental use of color and typography. 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Composed in fragments — written and collected, designed and curated — this catalog resists linear narrative formulas to favor an open poetic syntax. Here, the designer reads and translates stories spatially, frequently shifting their frames.","On the Impulse to Notate TextImageText+Image Order \\[+\\] notational compositions The notation is defined as the practice of recording anything by marks, figures, or characters. It sometimes implies “literal or etymological significations.” As Roland Barthes writes, this... \\[EXPAND\\] projective verse In Charles Olson’s late 1950s manifesto the self-described “archaeologist of morning” makes the case for poems composed “by field.” A poem of this nature is shaped by sound rather than sense, he writes. The nuances... \\[EXPAND\\] white spaces Early into February, I asked the poet Henri Cole if he relates to poetic theories like Charles’s Olson’s. Henri is the author of numerous collections of poetry, including among many others Gravity and Center, Blizzard,... \\[EXPAND\\] an email exchange with henri cole | white spaces “Recently, when I visited the marvelous Rothko exhibit in Paris, it seemed to me that many of his paintings were like sonnets, with octaves and sextets of color — or with three... \\[EXPAND\\] an email exchange with henri cole | white spaces “And this same slightly rectangular shape is present in Agnes Martin’s grid paintings, whose work I adore. Even as I type this now, Lydia, I am... \\[EXPAND\\] historical consciousness The beauty of composing in an open visual field is its potential to contain not just one gesture, but many. It exists as a zone of contact, an animate circuit through which we can trace... \\[EXPAND\\] malleable substance This document catalogs a series of returns. It attends to various preoccupations with language. Embodied in letterforms, transformed through oral and written redefinitions, and expanded into symbols, ... \\[EXPAND\\] material language While quite like the writer or translator in her ability to narrate, the designer differs from these practitioners in her material performance of language. She attends to the visual form of words — their geometric edges, their ... \\[EXPAND\\] layered simultaneity My body of work often resides inside transparencies, between multiple layers existing in simultaneity. It is characterized by an active... \\[EXPAND\\] restless words In a 1937 radio broadcast, Virginia Woolf suggests that words survive as a consequence of their multiplicities — ­­“the truth they try to catch... \\[EXPAND\\] habit formations For me, design is about understanding the manner in which we have been trained and habituated to gather information from our... \\[EXPAND\\] comparative contexts The definitions we learn early on — round and square, red and blue — we understand because they are taught to us in this very manner. They are made partners and opponents of... \\[EXPAND\\] parallel significations While we continue to define words for ourselves, it is often the order in which they are placed that generates meaning. It is the position of words... \\[EXPAND\\] compelled progress We live in a time of precarity, which frequently overwhelms our ability to perceive things beneath the surface. It is easier everyday to neglect the... \\[EXPAND\\] a conversational exchange with isabel seiffert | compelled progress “You can really feel the difference when that responsibility is taken. There is a different level of appreciation on both sides, on the maker side and the receiver side. It’s almost more on the maker’s side in a way, because you have... \\[EXPAND\\] exhausted exuberance In her piece “Exhaustion and Exuberance,” Jan Verwoert describes the societal pressure to perform and the progressively debilitating nature of saying “I Care.” We share exhaustion, she says, and suggests we have the... \\[EXPAND\\] constrained time The behaviors we perform at work as well as those we perform at home are constrained by the clock — 24 hours a day, 7 days a week. The clock... \\[EXPAND\\] transformative encounter Design has the potential to redirect our attention, to extend beyond commerce if we let it. It has the power to move toward forms of certitude. That is, if we understand this pursuit as universal and daily. That is, if we stitch... \\[EXPAND\\] habitual sightlines As when taking a small sip of water, we move through life by force of habit, hardly ever recognizing how we’ve come to read the world. It takes practice to notice the vessel holding that... \\[EXPAND\\] durational configurations In his essay, “Intuition as Method,” French philosopher Gilles Deleuze examines a lump of sugar. He suggests that beyond its spatial configuration, the lump of sugar also contains... \\[EXPAND\\] philosophical angles On the evening of my father’s seventieth birthday party, my uncle steps up to read with great animation a series of haiku he’s written about one of his... \\[EXPAND\\] a conversation exchange with joshua chodosh | philosophical angles “My parents did a lot of renovation on our house, so I was often surrounded by construction and by the people who did it. I think it was as much about the people as about anything else. I don’t know that they were better... \\[EXPAND\\] credible visibility John Berger begins Ways of Seeing by describing our visible environment’s impact on our individual sense of self. The former is the first thing... \\[EXPAND\\] blue starts In an interview with The Paris Review, William Gass describes “the way in which meanings are historically attached to words” as accidental, remote, and twisted. “A word is like a schoolgirl’s room — a complete mess,” he... \\[EXPAND\\] blue coalescing Part of the bank of research I begin to aggregate on the color blue, I reformulate into my own words and read over cuts of 35mm footage pulled from my family’s archive. This is... \\[EXPAND\\] ordinary affects I understand what is ubiquitous to coincide with the ordinary and mundane, the habitual moments of the lives we lead daily, the objects that permit our performance of... \\[EXPAND\\] observational potential In her essay on the art of dialogue, Patricia Romney describes how quantum physics might inform our relational encounters. Such theoretical frameworks suggest that a singular, unobserved entity behaves like a particle... \\[EXPAND\\] visible truths “We can never see the truth straight on,” Anne West notes in the margins of a piece of writing I share with her one January, “but through... \\[EXPAND\\] profit structures The field of design is defined by profit, by linear forms of power and the ongoing institutional arbitration of ideas. As Audre Lorde asserts, feelings were never meant to survive under such conditions. “Kept around as... \\[EXPAND\\] a conversational exchange with jonathan mark jackson | image interference “It’s not risky stuff, photographing still lives of objects and whatnot. But as I’ve grown into this medium, I’ve begun to notice a certain quality of... \\[EXPAND\\] structural magic Grammar is both an act of learning and imposing rules; it is simultaneously a project in making meaning, in pursuing magic. We can trace this understanding etymologically. Among the... \\[EXPAND\\] measurable stories I understand that we live by stories, and most imperatively, by the structures we impose on such stories; that we have been trained to expect... \\[EXPAND\\] paradoxical trends Quite like the color blue and the word grammar, my practice is not easily classifiable. It is always steeped in paradox. Nevertheless, at various junctures in time, I have... \\[EXPAND\\] paratactic style What I like about lists is well described by Brian Dillon in his essay on parataxis, a narrative structure defined by the placement of clauses or phrases, one after another, resisting the need to abide by notions of power and... \\[EXPAND\\] a conversational exchange with jonathan mark jackson | paratactic style “Sometimes, there are descriptions from novels or poems or visual metaphors that end up feeling like direct ideas for constructing pictures. I write... \\[EXPAND\\] dialogic presence Our vocabulary for experience takes root not only in formal definitions, but also as a result of verbal intonations. When written, the verbal is implied by punctuation — by question... \\[EXPAND\\] participatory expression I grew up at high-volume dinner tables, both crowded with people and crowded with voices. These voices often turned out indulgent stories, long-winded debates, and pithy turns of... \\[EXPAND\\] intervening experience We oscillate between passive delight in what we can only imagine and the desire to communicate that reality with precision. We oscillate alone... \\[EXPAND\\] aggregated material I have a tendency to aggregate readable material from others — not just words, but all manners of form. I am inclined toward Thomas Hirschhorn’s use of the word ramifications... \\[EXPAND\\] formal resistance In Caroline Levine’s book-length analysis of networks, she nods to Deleuze and Guattari at length, suggesting how a view of... \\[EXPAND\\] collective knowledge Typically used to refer to the general body of mankind, or of a nation, state, or community, the word public ends to encapsulate the people,... \\[EXPAND\\] networked knowledge It is Deleuze and Guatarri’s theoretical framework that animates my first steps toward a networked catalog of “knowledge,” which I eventually house online under the title, Spore Site. I had discovered in library... \\[EXPAND\\] reliable relations Everything is reliant on context — time and space. surface tension I follow up with Henri Cole immediately after his reply to my first set of questions. I begin —“Henri, before I clicked “reply” to this email,... \\[EXPAND\\] an email exchange with henri cole | surface tension “When I worked with Kiki Smith, I was responding to beautiful\u002Fsad color prints she'd made of the dying flower bouquets collected at her mother's... \\[EXPAND\\] an email exchange with henri cole | surface tension “With Jenny Holzer’s light projections of text at night, it is perhaps more a matter of black than white framing the words that are scrolling against a surface in the night.” surface production In 2008, the Dutch design studio Metahaven published a manifesto analyzing the presence of “surface” in our designed environments, and its propensity for replication.... \\[EXPAND\\] beauty’s legacy A quiet embrace of our prescribed bodily habits allows some of us to sustain momentum. To satisfy others is perhaps a means through which to satisfy ourselves.As my mother’s mother used to say, “A little makeup... \\[EXPAND\\] temptuous truths At times, I am loath to admit my temptation toward beauty, too easily convinced of its potential to work in service of truth. Of course, pursuing this endlessly bears some degree... \\[EXPAND\\] buoyant forces I remind myself of my grandmother. I play her voice in my ear. I play my mother’s voice as she sings her praises. “She taught us about light,”... \\[EXPAND\\] recurring dreams I have one dream which reanimates my imagination every couple of months. The arc of its narrative varies but its composition is always the same. It resides in a world I left behind a number of years ago, but which... \\[EXPAND\\] persistent pursuits Late one night, I ask my friend and former teammate Georgia Clopefil, a young writer with a forthcoming nonfiction debut, what... \\[EXPAND\\] a conversation exchange with georgia cloepfil | persistent pursuits “I do feel like I am chasing a voice, a sentence, a sound, an image from my brain. In that sense, the words are never going to be perfect and you... \\[EXPAND\\] image rhetoric I often feel that I am chasing similar things — a voice, a sentence, a sound, an image, an anecdote. It frustrates me, however, when the words aren’t the same shape as the moment lodged... \\[EXPAND\\] unconsummated desire In a short fragment of one of her essays, the photographer and w …",{"id":617,"height":13,"width":12,"blurhash":618},"27ea8635-6897-4860-90ab-b2888b1b6189","radial-gradient(at 0 0,#fbfcff,#00000000 50%),radial-gradient(at 33% 0,#fbfafa,#00000000 50%),radial-gradient(at 67% 0,#fffcfb,#00000000 50%),radial-gradient(at 100% 0,#fffcfa,#00000000 50%),radial-gradient(at 0 50%,#f0f2f3,#00000000 50%),radial-gradient(at 33% 50%,#f1efec,#00000000 50%),radial-gradient(at 67% 50%,#f4f0e9,#00000000 50%),radial-gradient(at 100% 50%,#f5f1e9,#00000000 50%),radial-gradient(at 0 100%,#f1f5f6,#00000000 50%),radial-gradient(at 33% 100%,#f2f1ed,#00000000 50%),radial-gradient(at 67% 100%,#f7f3ed,#00000000 50%),radial-gradient(at 100% 100%,#f6f3ec,#00000000 50%)",{"id":620,"height":15,"width":14,"blurhash":371},"687bae8c-3e18-4123-bf4a-157eef847ceb",[622],{"directus_files_id":623},{"id":624},"4ab712fd-766f-4c4d-98ab-80da3ced0c07",[626],{"languages_code":465,"description":627},"Notations is a sophisticated digital translation of a printed catalog, functioning as an experimental, non-linear archive of poetic and visual fragments. 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Composed in fragments — written and collected, designed and curated — this catalog resists linear narrative formulas to favor an open poetic syntax. Here, the designer reads and translates stories spatially, frequently shifting their frames.. Page content: On the Impulse to Notate TextImageText+Image Order \\[+\\] notational compositions The notation is defined as the practice of recording anything by marks, figures, or characters. It sometimes implies “literal or etymological significations.” As Roland Barthes writes, this... \\[EXPAND\\] projective verse In Charles Olson’s late 1950s manifesto the self-described “archaeologist of morning” makes the case for poems composed “by field.” A poem of this nature is shaped by sound rather than sense, he writes. The nuances... \\[EXPAND\\] white spaces Early into February, I asked the poet Henri Cole if he relates to poetic theories like Charles’s Olson’s. Henri is the author of numerous collections of poetry, including among many others Gravity and Center, Blizzard,... \\[EXPAND\\] an email exchange with henri cole | white spaces “Recently, when I visited the marvelous Rothko exhibit in Paris, it seemed to me that many of his paintings were like sonnets, with octaves and sextets of color — or with three... \\[EXPAND\\] an email exchange with henri cole | white spaces “And this same slightly rectangular shape is present in Agnes Martin’s grid paintings, whose work I adore. Even as I type this now, Lydia, I am... \\[EXPAND\\] historical consciousness The beauty of composing in an open visual field is its potential to contain not just one gesture, but many. It exists as a zone of contact, an animate circuit through which we can trace... \\[EXPAND\\] malleable substance This document catalogs a series of returns. It attends to various preoccupations with language. Embodied in letterforms, transformed through oral and written redefinitions, and expanded into symbols, ... \\[EXPAND\\] material language While quite like the writer or translator in her ability to narrate, the designer differs from these practitioners in her material performance of language. She attends to the visual form of words — their geometric edges, their ... \\[EXPAND\\] layered simultaneity My body of work often resides inside transparencies, between multiple layers existing in simultaneity. It is characterized by an active... \\[EXPAND\\] restless words In a 1937 radio broadcast, Virginia Woolf suggests that words survive as a consequence of their multiplicities — ­­“the truth they try to catch... \\[EXPAND\\] habit formations For me, design is about understanding the manner in which we have been trained and habituated to gather information from our... \\[EXPAND\\] comparative contexts The definitions we learn early on — round and square, red and blue — we understand because they are taught to us in this very manner. They are made partners and opponents of... \\[EXPAND\\] parallel significations While we continue to define words for ourselves, it is often the order in which they are placed that generates meaning. It is the position of words... \\[EXPAND\\] compelled progress We live in a time of precarity, which frequently overwhelms our ability to perceive things beneath the surface. It is easier everyday to neglect the... \\[EXPAND\\] a conversational exchange with isabel seiffert | compelled progress “You can really feel the difference when that responsibility is taken. There is a different level of appreciation on both sides, on the maker side and the receiver side. It’s almost more on the maker’s side in a way, because you have... \\[EXPAND\\] exhausted exuberance In her piece “Exhaustion and Exuberance,” Jan Verwoert describes the societal pressure to perform and the progressively debilitating nature of saying “I Care.” We share exhaustion, she says, and suggests we have the... \\[EXPAND\\] constrained time The behaviors we perform at work as well as those we perform at home are constrained by the clock — 24 hours a day, 7 days a week. The clock... \\[EXPAND\\] transformative encounter Design has the potential to redirect our attention, to extend beyond commerce if we let it. It has the power to move toward forms of certitude. That is, if we understand this pursuit as universal and daily. That is, if we stitch... \\[EXPAND\\] habitual sightlines As when taking a small sip of water, we move through life by force of habit, hardly ever recognizing how we’ve come to read the world. It takes practice to notice the vessel holding that... \\[EXPAND\\] durational configurations In his essay, “Intuition as Method,” French philosopher Gilles Deleuze examines a lump of sugar. He suggests that beyond its spatial configuration, the lump of sugar also contains... \\[EXPAND\\] philosophical angles On the evening of my father’s seventieth birthday party, my uncle steps up to read with great animation a series of haiku he’s written about one of his... \\[EXPAND\\] a conversation exchange with joshua chodosh | philosophical angles “My parents did a lot of renovation on our house, so I was often surrounded by construction and by the people who did it. I think it was as much about the people as about anything else. I don’t know that they were better... \\[EXPAND\\] credible visibility John Berger begins Ways of Seeing by describing our visible environment’s impact on our individual sense of self. The former is the first thing... \\[EXPAND\\] blue starts In an interview with The Paris Review, William Gass describes “the way in which meanings are historically attached to words” as accidental, remote, and twisted. “A word is like a schoolgirl’s room — a complete mess,” he... \\[EXPAND\\] blue coalescing Part of the bank of research I begin to aggregate on the color blue, I reformulate into my own words and read over cuts of 35mm footage pulled from my family’s archive. This is... \\[EXPAND\\] ordinary affects I understand what is ubiquitous to coincide with the ordinary and mundane, the habitual moments of the lives we lead daily, the objects that permit our performance of... \\[EXPAND\\] observational potential In her essay on the art of dialogue, Patricia Romney describes how quantum physics might inform our relational encounters. Such theoretical frameworks suggest that a singular, unobserved entity behaves like a particle... \\[EXPAND\\] visible truths “We can never see the truth straight on,” Anne West notes in the margins of a piece of writing I share with her one January, “but through... \\[EXPAND\\] profit structures The field of design is defined by profit, by linear forms of power and the ongoing institutional arbitration of ideas. As Audre Lorde asserts, feelings were never meant to survive under such conditions. “Kept around as... \\[EXPAND\\] a conversational exchange with jonathan mark jackson | image interference “It’s not risky stuff, photographing still lives of objects and whatnot. But as I’ve grown into this medium, I’ve begun to notice a certain quality of... \\[EXPAND\\] structural magic Grammar is both an act of learning and imposing rules; it is simultaneously a project in making meaning, in pursuing magic. We can trace this understanding etymologically. Among the... \\[EXPAND\\] measurable stories I understand that we live by stories, and most imperatively, by the structures we impose on such stories; that we have been trained to expect... \\[EXPAND\\] paradoxical trends Quite like the color blue and the word grammar, my practice is not easily classifiable. It is always steeped in paradox. Nevertheless, at various junctures in time, I have... \\[EXPAND\\] paratactic style What I like about lists is well described by Brian Dillon in his essay on parataxis, a narrative structure defined by the placement of clauses or phrases, one after another, resisting the need to abide by notions of power and... \\[EXPAND\\] a conversational exchange with jonathan mark jackson | paratactic style “Sometimes, there are descriptions from novels or poems or visual metaphors that end up feeling like direct ideas for constructing pictures. I write... \\[EXPAND\\] dialogic presence Our vocabulary for experience takes root not only in formal definitions, but also as a result of verbal intonations. When written, the verbal is implied by punctuation — by question... \\[EXPAND\\] participatory expression I grew up at high-volume dinner tables, both crowded with people and crowded with voices. These voices often turned out indulgent stories, long-winded debates, and pithy turns of... \\[EXPAND\\] intervening experience We oscillate between passive delight in what we can only imagine and the desire to communicate that reality with precision. We oscillate alone... \\[EXPAND\\] aggregated material I have a tendency to aggregate readable material from others — not just words, but all manners of form. I am inclined toward Thomas Hirschhorn’s use of the word ramifications... \\[EXPAND\\] formal resistance In Caroline Levine’s book-length analysis of networks, she nods to Deleuze and Guattari at length, suggesting how a view of... \\[EXPAND\\] collective knowledge Typically used to refer to the general body of mankind, or of a nation, state, or community, the word public ends to encapsulate the people,... \\[EXPAND\\] networked knowledge It is Deleuze and Guatarri’s theoretical framework that animates my first steps toward a networked catalog of “knowledge,” which I eventually house online under the title, Spore Site. I had discovered in library... \\[EXPAND\\] reliable relations Everything is reliant on context — time and space. surface tension I follow up with Henri Cole immediately after his reply to my first set of questions. I begin —“Henri, before I clicked “reply” to this email,... \\[EXPAND\\] an email exchange with henri cole | surface tension “When I worked with Kiki Smith, I was responding to beautiful\u002Fsad color prints she'd made of the dying flower bouquets collected at her mother's... \\[EXPAND\\] an email exchange with henri cole | surface tension “With Jenny Holzer’s light projections of text at night, it is perhaps more a matter of black than white framing the words that are scrolling against a surface in the night.” surface production In 2008, the Dutch design studio Metahaven published a manifesto analyzing the presence of “surface” in our designed environments, and its propensity for replication.... \\[EXPAND\\] beauty’s legacy A quiet embrace of our prescribed bodily habits allows some of us to sustain momentum. To satisfy others is perhaps a means through which to satisfy ourselves.As my mother’s mother used to say, “A little makeup... \\[EXPAND\\] temptuous truths At times, I am loath to admit my temptation toward beauty, too easily convinced of its potential to work in service of truth. Of course, pursuing this endlessly bears some degree... \\[EXPAND\\] buoyant forces I remind myself of my grandmother. I play her voice in my ear. I play my mother’s voice as she sings her praises. “She taught us about light,”... \\[EXPAND\\] recurring dreams I have one dream which reanimates my imagination every couple of months. The arc of its narrative varies but its composition is always the same. It resides in a world I left behind a number of years ago, but which... \\[EXPAND\\] persistent pursuits Late one night, I ask my friend and former teammate Georgia Clopefil, a young writer with a forthcoming nonfiction debut, what... \\[EXPAND\\] a conversation exchange with georgia cloepfil | persistent pursuits “I do feel like I am chasing a voice, a sentence, a sound, an image from my brain. In that sense, the words are never going to be perfect and you... \\[EXPAND\\] image rhetoric I often feel that I am chasing similar things — a voice, a sentence, a sound, an image, an anecdote. It frustrates me, however, when the words aren’t the same shape as the moment lodged... \\[EXPAND\\] unconsummated desire In a short fragment of one of her essays, the photographer and w …. A Clean \u002F Minimalist, Monochrome \u002F Grayscale, Typographic \u002F Big Type website in the Art & Culture industry. Designed by Lydia Chodosh, developed by Donald Zhu. The overall color palette features White, Brown, Gray. The typography features Times New Roman (Serif), Aperçu (Sans Serif, Colophon), Aperçu Mono (Sans Serif, Colophon), Aperçu (Sans Serif, Colophon), Bradford (Serif, Lineto), Bradford (Serif, Lineto). AI description: Notations is a sophisticated digital translation of a printed catalog, functioning as an experimental, non-linear archive of poetic and visual fragments. The website serves as a spatial reading experience, eschewing traditional narrative structures in favor of a fragmented, curated syntax that allows the designer to shift frames and explore stories through a multi-dimensional lens. The visual identity is deeply intellectual and avant-garde, characterized by a complex, layered typographic layout that mimics the tactile density of a physical publication. 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Awakening the Subliminal Honoring deep audience motivations for behavior, and offering salvation. We Operationalize Obsession Honoring deep audience motivations for behavior, and offering salvation. We Manufacture Mythologies Honoring deep audience motivations for behavior, and offering salvation. Honoring deep audience motivations for behavior, and offering salvation. Honoring deep audience motivations for behavior, and offering salvation. Honoring deep audience motivations for behavior, and offering salvation. 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The website positions the agency not merely as a service provider, but as an elite, almost clandestine entity dedicated to 'engineering brand adherence at scale.' Through a narrative-driven interface, it invites clients into an 'inner circle' to witness the rituals that transform brands into powerful legacies.\n\nThe visual identity is deeply immersive, utilizing a dark, cinematic aesthetic that leans into sci-fi and tech-noir tropes. By employing a data-heavy, terminal-style UI—complete with status indicators, 'access levels,' and 'recording in progress' motifs—the design creates a sense of exclusivity and precision. The use of high-contrast monochrome imagery and bold, utilitarian typography reinforces a sophisticated, avant-garde persona tailored for forward-thinking brands seeking disruptive impact.",[252,760,34],"Futuristic \u002F Sci-Fi",[762,763],"Ben Mingo","Fabio Carretti",[],[269],[767,768,769,770],{"score":208,"category":106},{"score":210,"category":109},{"score":113,"category":112},{"score":121,"category":115},[772,774,775,776],{"score":773,"category":106},57,{"score":210,"category":109},{"score":113,"category":112},{"score":121,"category":115},[130,126,134],"Website: Better Half. Page: Homepage. Page type: Home \u002F Landing Page. Page title: Better Half. Page description: Join the inner circle of Better Half's triumphs in marketing, branding, and production. Unearth the secrets behind our rituals that transform brands and create powerful legacies.. Page content: Better Half Operating Since:2018 Status:Online284: 548 Mode:INDOCTRINATION\\_ACTIVE Access Level:Recruit LocationHQ.NYC \u002F NODE.LA \u002F REMOTE Authorized Users:Verified Current Objective:Cultivate Belief Time Accessed:12:39:30 Recording in progress Engineering Brand Adherence at Scale. Project View Compact View Equinox [ Equinox ](\u002Fwork\u002Fequinox) Brand Campaign Community Management Brand Messaging Art Direction AgentSmyth [ AgentSmyth ](\u002Fwork\u002Fagentsmyth) Brand Strategy Identity Brand Messaging Spotify [ Spotify ](\u002Fwork\u002Fspotify) Campaign Production Art Direction Motion Graphics Rothy's [ Rothy's ](\u002Fwork\u002Frothys) Production Brand Campaign Brand Messaging Art Direction Post Production Ithaca [ Ithaca ](\u002Fwork\u002Fithaca) Brand Strategy Brand Messaging Art Direction Identity Motion Graphics Future Fit [ Future Fit ](\u002Fwork\u002Ffuture-fit) Identity Campaign Production Art Direction Broadcast Bilt Rewards [ Bilt Rewards ](\u002Fwork\u002Fbilt-rewards) Identity Brand Brand Messaging Art Direction Match [ Match ](\u002Fwork\u002Fmatch) Brand Strategy Campaign Community Management Amazon Music [ Amazon Music ](\u002Fwork\u002Famazon-music) Campaign Art Direction Motion Graphics Out Of Home Nike [ Nike ](\u002Fwork\u002Fnike) Campaign Production Art Direction Motion Graphics Mylo [ Mylo ](\u002Fwork\u002Fmylo) Identity Brand Strategy Community Management Production Vans [ Vans ](\u002Fwork\u002Fvans) Campaign Brand Strategy Motion Graphics Production Identity Settle [ Settle ](\u002Fwork\u002Fsettle) Brand Brand Identity Campaign Westbrook [ Westbrook ](\u002Fwork\u002Fwestbrook) Identity Art Direction Motion Graphics Brand Identity Through discipline & design We Engineer Indoctrination Honoring deep audience motivations for behavior, and offering salvation. Awakening the Subliminal Honoring deep audience motivations for behavior, and offering salvation. We Operationalize Obsession Honoring deep audience motivations for behavior, and offering salvation. We Manufacture Mythologies Honoring deep audience motivations for behavior, and offering salvation. Honoring deep audience motivations for behavior, and offering salvation. Honoring deep audience motivations for behavior, and offering salvation. Honoring deep audience motivations for behavior, and offering salvation. Honoring deep audience motivations for behavior, and offering salvation. 11.5 Awards 1 Offices 1,325.5 Days in Operation 41.5 Brands Transformed 7.5 Global Markets Touched 2 Hexes Cast Better Half full time members Will Alyssa Bec H Hugh K Roz Ben S Leslie Gray B 65% trained in behavioral science or semiotics 99% have worked on campaigns that drove 9-figure outcomes 100% Post-Ritual Retention Better Half cult advisors Unlisted individual Unlisted individual Unlisted individual. A Dark Mode, Futuristic \u002F Sci-Fi, Typographic \u002F Big Type website in the Agency & Studio industry. Designed by Ben Mingo, developed by Fabio Carretti. The overall color palette features Black, White, Gray. Built using Vercel. AI description: Better Half is a high-concept creative agency specializing in marketing, branding, and production. The website positions the agency not merely as a service provider, but as an elite, almost clandestine entity dedicated to 'engineering brand adherence at scale.' Through a narrative-driven interface, it invites clients into an 'inner circle' to witness the rituals that transform brands into powerful legacies. The visual identity is deeply immersive, utilizing a dark, cinematic aesthetic that leans into sci-fi and tech-noir tropes. By employing a data-heavy, terminal-style UI—complete with status indicators, 'access levels,' and 'recording in progress' motifs—the design creates a sense of exclusivity and precision. The use of high-contrast monochrome imagery and bold, utilitarian typography reinforces a sophisticated, avant-garde persona tailored for forward-thinking brands seeking disruptive impact."]